La bohème is one of opera’s most popular and unforgettable stories. When young poet Rodolfo meets seamstress Mimi, it’s love at first sight. But faced by the cruel realities of poverty and ill health, will the flame that burns between them flicker and die? Or will the timeless strength of their youthful passion withstand every trial and tribulation that life can throw at them?

“The Bohemian world — bold and challenging, the Bohemia of carefree poverty,
of tender kisses, stolen surreptitiously from the moist, pink lips of some young
girl... a company of artist-friends, inspired by great ideals and big appetites
or of long-haired poets in badly-fitting coats, always in search of their
fortune and of the pretty faces of innocent young girls”, — it was into this
world, the world of his youth, that Puccini was plunged when composing his
opera. The picture of Paris given in La Bohème, for all the concrete place names
and locations mentioned in the scenario, turns out to be in large part a
convention: the composer was even reproached for lack of local color, “the air
of the Seine, the smell of the gutters and pancakes of the Latin Quarter” were
missing. However, showing through the mask of the French capital in the opera,
are Milan, and St.-Petersburg, and Moscow — every listener, every interpreter
have memories of their own and, thanks to the marvelous atmosphere created, a
total visual and oral illu­sion is achieved. It is an atmosphere of youth
and high-spirits, permeated by a bewitching sensuality.

La Bohème owes its appearance at the Bolshoi Theatre to its popularity with
the public (the opera had had its first per­formance at Zimin’s Theatre in
1897 and had been in the repertory of the Mariinsky Theatre since 1900), and to
the per­sonal initiative of Leonid Sobinov, who chose it for his debut as
producer at the Theatre in 1911. Sobinov commissioned a new translation of the
scenario specially for the production: the excessive naturalism and coarse
expressions of the exist­ing version were not to his liking.

The endless joking which helps the artists keep the cold at bay gives way to
the avowals of lovers; noisy merrymaking — to angry explanations. It is
difficult to think of a better con­structed plot. This life, full of dreams
and hopes, is just what the public, who loves to fantasize and cry at the
slightest tri­fle, craves for and, at the end of the opera, sobbing is
inevitable.

Synopsis

Act
IScene 1A GarretIn an unheated garret
Marcello, an artist, is working on his canvas “Crossing the Red
Sea”. He has difficulty holding his brush because the cold has
so cramped his fingers. His friend, the poet Rodolfo, enviously looks
at the smoke emerging from the smokestacks of the well-heated Parisian
houses. Marcello sadly muses over his flighty and unfaithful girl-friend
Musetta. Rodolfo turns down Marcello’s offer to fire the stove with his
unfinished “Red Sea” and decides to sacrifice the first act of his
drama rather than break up the chair for this purpose.

Another
friend, the philosopher Colline, returns with a bundle of books that
he wanted to sell, but since this is Christmas eve the stores
were closed. His bad mood is dispelled by the warmth of the
heated stove.

The fourth member of the group of friends
arrives. The musician Schaunard with the help of errand-boys has brought
delicious snacks, wine, cigars, firewood and a bunch of coins. All are
so aghast at the sight of such riches that they are not listening
to Schaunard’s story about what happened. He became acquainted with
a bored Englishman who wanted nothing more of him than that
he “play” until death a parrot that was disturbing him. The successful
job, which was not completed without a little poison, was generously
rewarded. Schaunard hinders the immediate consumption of the food, but
allows them to enjoy the wine. Then, in a condescending tone,
he invites his friends to partake in Latin Quarter
cuisine.

The joyful mood is disturbed by the arrival
of Benoit, the old landlord, who demands the long-overdue rent. They
reassure him by showing that they have money and offer him wine.
He becomes somewhat tight and boasts of past amorous escapades,
whereupon they hit him with his own weapon of Philistine morals:
indignantly, they turn the shameful “debauchee” out of the room without
paying the rent. Schaunard magnanimously shares his money with his friends and
all head for their favourite cafe. Rodolfo decides to stay for a few
minutes to finish an article. The friends will wait for him
below.

Mimi, a neighbour, comes to ask that her extinguished
candle be lighted. A coughing spell detains her in the room.
Rodolfo is captivated by the tender creature. After leaving, Mimi
returns in search of her key. The draft extinguishes both candles.
Rodolfo and Mimi rummage in the dark in search of the key.
Rodolfo finds it and unnoticed hides it. Taking advantage of the
situation, he dares to touch Mimi’s hand.

Rodolfo contemplates: can
he build castles in the air when he is merely
a hopelessly poor poet? But Mimi’s beautiful eyes immediately give him
reason for optimism.

Mimi tells about herself: she
is a seamstress. Her simple existence is warmed by the
modest happiness of “unrealizable fantasies” and the “poetry”
of minutiae. Rodolfo’s friends are still waiting below and call
to him. He tells them to go on and promises
to follow shortly. In the enchanting beams of the moonlight
penetrating the attic, Rodolfo and Mimi speak of their love for each other.
Then, Mimi remembers their promise, so hand in hand they head for the
Latin Quarter.

Scene 2In the Latin
QuarterAt the Christmas fair in front of the cafe,
traders offer their goods. Each of the friends, having come into means,
makes his purchases. Schaunard buys a defective horn, Colline acquires
a stack of books and Rodolfo a mob-cap for Mimi. Only Marcello,
yearning for Musetta, cannot find consolation in spending money
or flirting with other girls. The companions finally meet in the cafe.
Mimi is gladly accepted as one of the group. While in the street
children noisily surround Parpignol, the trader of toys. They order
exquisite viands. Rodolfo and Mimi’s love makes Marcello utter bitter
truths.

The season for Marcello’s dejected state soon comes
to light. The appearance of Musetta, accompanied by a rich
and already piqued suitor, calls forth a burst of animation
in the cafe. The darling of the Latin Quarter tries by all means
to attract the attention of her former lover. Marcello, despite all
efforts, cannot hide that he is not indifferent to her. When
Musetta, to Alcindoro’s shame, sings a song directed only
to

Marcello, the ice breaks. Enfeebled Alcindoro is unable
to pacify excited Musetta. Musetta gets rid of her suitor
by claiming that her foot hurts and she needs new shoes. As soon
as he leaves, Musetta and Marcello fall into each others arms. The
check brought by the waiter causes bewilderment, but Musetta puts the bill
on Alcindoro’s account. When Alcindoro returns, he finds the cafe
empty. He remains alone with the box of shoes and the unpaid
bill.

Act IIAt the Gate
d’EnferMarcello and Musetta have found temporary quarters
in a tavern on the outskirts of Paris. Marcello
is painting a signboard for the owner. Mimi, plagued by coughing
spells, asks the sergeant about the artist Marcello. She calls him from the
tavern and tells him about her troubles. She knows that Rodolfo loves her, but
nevertheless he has left her.

Marcello confirms that Rodolfo has
come here early morning and, exhausted, is now sleeping. Under such
circumstances, he is also for separation. He, like Musetta, prefers
a light relationship. Rodolfo wants to open his heart to his
friend. Marcello does not hide that he thinks Marcello is concealing
something. Rodolfo claims that Mimi continuously flirts with other men,
so that living with her has become impossible. When Marcello expresses
doubts, Rodolfo reveals the real reason for his decision: Mimi’s incurable
disease and his poor room with northern exposure is undermining her health
further. Marcello is unable to prevent Mimi from learning the bitter
truth. A coughing spell reveals her presence. Repenting, Rodolfo embraces
Mimi, while jealous Marcello, infuriated by the flirtatious laughter
of Musetta, rushes into the tavern.

Now, Mimi has decided
to leave Rodolfo. But recalling their life together does not allow them
to separate. While Marcello makes a scene out of jealousy and
Musetta leaves him again, Rodolfo and Mimi decide to postpone separation
until Spring.

Act
IIIA GarretSeveral months later. Rodolfo and Marcello
are again alone in the garret. They cannot forget their past happiness. The
friends are submerged in thoughts. Each is looking at his pledge
of love: Marcello at Musetta’s portrait and Rodolfo at the
mob-cap, his present to Mimi.

Schaunard and Colline enter and bring
only stale bread and a wretched herring. With the humour
of gallows-birds, they act as though before them
is a richly-laden table.

At the height of the
merriment, Musetta rushes in with the news that Mimi feels her end
is approaching. Rodolfo seats Mimi in an arm-chair. Life returns.
Everyone tries to lighten Mimi’s suffering. Marcello is to sell
Musetta’s ear-rings and bring medicine. Musetta wants to buy a muff
for Mimi’s hands that are always cold.

Colline is taking his old,
worn coat to be pawned. Schaunard, who has nothing, contributes his
only available contribution: he leaves Mimi and Rodolfo
alone.

Happiness returns to Rodolfo and Mimi. They talk about
memories of their past. A sudden choking spell makes Mimi silent.
Marcello returns with medicine, Musetta with the desired muff. She supports
Mimi’s illusion that it is Rodolfo’s gift. Mimi falls asleep happy.
Marcello reports that the doctor will come soon. Schaunard is the first
to realize that Mimi is dead. Colline returns with money from the
pawnshop. The change in the behaviour of Marcello and Schaunard makes
Rodolfo realize that Mimi has died.